Art Lies, Volume 47, Summer 2005 Page: 7
The following text was automatically extracted from the image on this page using optical character recognition software:
Painting: Post-Representation and Post Critique
Accessibility is key in any academic discussion, but very few schol-
ars, in Texas or elsewhere, can maintain or articulate the intellectual
rigor of a piquant debate while providing an absorbing entry point for
the reader. Issue No. 47's Guest Editor, Frances Colpitt, performs this
twofold task with incomparable finesse. Until very recently, Colpitt
was Chair of the Department of Art and Art History at the University
of Texas at San Antonio. She is now Deedie Potter Rose Chair of Art
History at Texas Christian University in Fort Worth. In her introduc-
tory essay, Dumb Painting: The End of Representation, Colpitt con-
siders figuration, representation, re-representation, Minimalism,
Formalism, neo-formalism, abstraction, conceptual abstraction and
postmodernism but ultimately draws her discussion back to the vis-
ceral; she reminds us of the physicality of painting and its potential
to, quite simply, seduce.
The ideas recognized and opinions stated in Colpitt's introduc-
tion are alternately sustained and challenged in other themed arti-
cles, including critic Christopher Miles' essay, The Death of Painting
and the Writing of Painting's Post-Crisis, Post-Critique Future, and
artist James Hayward's highly personal memoir, From There To
Here: Remembrances Of A Monochrome Painter. Colpitt also invited
Houston-based painter Aaron Parazette to produce this issue's
VISUAL SPACE and Contemporary Arts Museum Houston Curator
Paola Morsiani to conduct this issue's installment of DIALOGUE,
an interview with five artists: Angela Fraleigh, Francesca Fuchs,
Trenton Doyle Hancock, Robyn O'Neil and Matthew Sontheimer.
Parazette's piece, Searchers, is the provocative grouping of works
by eight artists who, in his opinion, "share an awareness and under-
standing of a certain territory currently being traversed" in contem-
porary painting without losing sight of the medium's rich history.
Equally provocative is the conclusion of some of Morsiani's inter-
viewees that, should the medium of painting be somehow removed
from the world, they could-and would-find equally eloquent modes
of expression. This statement, while the possible indication of a gen-
erational difference, is complicated when read alongside Parazette's
essay, ultimately suggesting that a cyclical debate on painting-its
death/rebirth, hybridity/limitations-is far from conclusion.
Also included in this issue are features by peripatetic linguist and
writer James Bae, curator Dan Cameron and Dallas-based artist Noah
Simblist. Bae's piece is the first installment of MAPPINGS. With
MAPPINGS, ARTL!ES seeks to encourage writings and artist projects
rooted in a sense of place-works that express, address and critique
the unique arts communities of Texas. While Bae's riff on Marfa is, in
my opinion, a little harsh, when paired with idyllic images by Dallas-
based photographer Allison V. Smith, a sagacious impression of the
area does emerge, one that communicates the subjective complexity
of the notion of place itself.
Premeditated Chaos, Cameron's curatorial statement for New
American Talent at Arthouse at the Jones Center in Austin, also rep-
resents a first for ARTL!ES. By providing space for curatorial state-
ments, we hope to foster the dissemination of debate on crucial
curatorial issues-an important facet of our ongoing mission.
By shortening the themed section of each issue, ARTL!ES can
now solicit manuscripts unrestricted in focus, allowing for an array
of topics and a host of new voices in each and every issue, like Noah
Simblist's editorial on agency in artistic production. In our next issue,
Mexico City-based artist Thomas Glassford will edit a section on The
Border. Additional features will include poet David Brown on the life
and work of the late Jim Love and an excerpt from Jerry Saltz' upcom-
ing lecture for ARTL!ES annual Critics Lecture Series in Houston. In
my opinion, diversifying our format will encourage critical dialogue
in-and about-contemporary art in Texas.
Toni & Jeff Beauchamp
John F. Guess, Jr.
Heimbinder Family Foundation
William Hill Land and Cattle Co.
Cecily E. Horton
Jeanne & Michael Klein
Anna & Thomas Au
Leslie & Brad Bucher
Karol Kreymer & Robert Card
Stephanie & Ed Larsen
Judy & Scott Nyquist
Barbara Day & Jonathan Day
Victoria & Marshal Lightman
Sharon & Frank Lorenzo
Hugh Dodd McDonnold
Vance Muse - The Menil Collection
Libby D. Tilley
Cecily E. Horton, Chair
Catherine D. Anspon
John F. Guess, Jr.
Kay Gunderson Reeves
George & Sally Muellich
ARTL!ES Summer 2005 7
Here’s what’s next.
This issue can be searched. Note: Results may vary based on the legibility of text within the document.
Citing and Sharing
Basic information for referencing this web page. We also provide extended guidance on usage rights, references, copying or embedding.
Reference the current page of this Periodical.
Bryant, John & Gupta, Anjali. Art Lies, Volume 47, Summer 2005, periodical, 2005; Houston, Texas. (texashistory.unt.edu/ark:/67531/metapth228012/m1/9/: accessed June 24, 2017), University of North Texas Libraries, The Portal to Texas History, texashistory.unt.edu; .